Those Who Leave and Those Who Stay: A Novel (Neapolitan Novels, 3): 03 (Neapolitan Quartet, 3)

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The novel was adapted by HBO and RaiTV in their series My Brilliant Friend. The content of this novels corresponds to the third season of the show, which aired in February 2022. [1] Plot [ edit ] Neapolitan Quartet" is an immersive look at a female friendship". The Dartmouth . Retrieved 2023-02-27. In the third installment of Ferrante’s Neapolitan quartet, childhood best friends Lenu and Lila have made choices that led them down very different paths: Lenu went to college and has a burgeoning career as a respected writer, while Lila has separated from an abusive husband and works in a sausage factory. Yet even in such disparate milieux, the competition between the women never lets up. Enzo Scanno, Lila and Lenù's childhood friend, who starts a relationship with Lila after he helps her leave her abusive marriage. The question was posed by reader Paolo Di Stefano to Elena Ferrante in the Italian newspaper Corriere della Sera, "how autobiographical is the story of Elena [Greco]?". Ferrante replied, in "her characteristically direct yet elusive manner, 'If by autobiography you mean drawing on one's own experience to feed an invented story, almost entirely. If instead you're asking whether I'm telling my own personal story, not at all'." [15]

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There’s nothing good here! Living alone in old age, narratives of loss, and transformations of belonging The interdisciplinary conference ‘Those who leave and those who stay: the consequences of emigration for sending countries’ aims to bring together researchers from different fields – political science, education, anthropology, history, political economy, and sociology, among others – who explore the socio-political and economic consequences of emigration for sending countries, regions and communities. The field of international migration is predominantly focused on the topic of immigration, debating its causes, the legal challenges it poses, and the way it has been politicised in receiving countries, among other topics of scholarly and political importance. Yet, there has been much less focus on ‘those who stay’, that is on how emigration transforms the places and people who are left behind. The Neapolitan novels, in form and content, necessitated for us a consideration of pettiness: of how pettiness, gender, criticism, and politics interact. By way of conclusion, we’d note another sphere where pettiness’s forceful ambivalent power seems necessary to consider: the election of Trump, the world’s pettiest candidate, over Hillary Clinton, a candidate who (because she is a woman, rather than for her questionable politics) was evaluated in the most petty way. Moylan, Brian (February 9, 2016). "Elena Ferrante's Neapolitan novels set for TV adaptation". The Guardian.

Anonymous' author on international Man Booker longlist". BBC News. 2016-03-10 . Retrieved 2023-02-27. A 32-part television series The Neapolitan Novels is also in the works and will be co-produced by the Italian producer Wildside for Fandango Productions, with screenwriting led by the writer Francesco Piccolo. [32] On March 30, 2017, it was announced that HBO and RAI would broadcast the first eight episodes which are an adaptation of My Brilliant Friend, the first of the four Neapolitan Novels, [33] and they premiered on HBO on November 18, 2018. [34]

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Colonial traces of emigration aspirations among Filipinos and its impact in contemporary Philippines Another possibility is that the irritation is a historical symptom. The years of Ferrante fever in the United States have coincided with the collapse of things more generally—politically, psychologically, informationally. We exist in a state now where the ability to demonstrate or assert what is “best that is known” is under particular stress. It’s clear that criticism in our present time—the best that is known, consensual knowledge—has a vital role. Lenù had planned not to have children right away, but discovers too late that Pietro did not agree with that plan. She becomes pregnant in her honeymoon, giving birth to her daughter Adele (Dede), named after Pietro's mother. Two years later she has her second daughter, Elsa. At home with two young girls, Lenù has a hard time writing, and feels trapped and allienated. She manages at cost to write another book, based on her and Lila's childhood in Naples, but after Adele, Pietro's mother and her editor, judges the book to have no merit, she abandons the project.

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Bernofsky, Susan (2016-10-10). "2016 ALTA Translation Prizes Announced". TRANSLATIONiSTA . Retrieved 2023-02-27.

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Elissa Schappel, writing for Vanity Fair, reviewed the last book of the Quartet as "This is Ferrante at the height of her brilliance." [20] Roger Cohen wrote for the New York Review of Books: "The interacting qualities of the two women are central to the quartet, which is at once introspective and sweeping, personal and political, covering the more than six decades of the two women's lives and the way those lives intersect with Italy's upheavals, from the revolutionary violence of the leftist Red Brigades to radical feminism." [21] The main reason to love My Brilliant Friend is that it contains one of the most honest, unsentimental depictions of friendship—female or otherwise—in either literature or television. The novels also portray class struggle, especially in the context of Italian factory strikes of the 1970s. [11] [12] Writer Valerie Popp has written on the class portrayal in the novels "So I find that reading Elena Ferrante's work affords me a rare pleasure: the pleasure of recognition. Here in the United States, the working-class dimensions of Ferrante's work tend to get elided, ignored, or attenuated into something charming and “primitive” that the literary coterie—who, for the most part, are middle- or upper-class born—can admire from a distance." [13] The novel was also praised for its social themes, showing the neighborhood's changes under the Camorra's influence, and the struggles during the 70s Lead Years in Italy: "During the struggles of the 1970s between the Communists and the Socialists she [Elena] turns to politics, only to find that the Camorra rules here too." [14] Künstlerroman [ edit ] In The Guardian, it was noted the growing popularity of Ferrante, especially among writers: "Partly because her work describes domestic experiences – such as vivid sexual jealousy and other forms of shame – that are underexplored in fiction, Ferrante's reputation is soaring, especially among women (Zadie Smith, Mona Simpson and Jhumpa Lahiri are fans)". [9] VIDA (2016-08-16). "Report from the Field: A Working-Class Academic on Loving Elena Ferrante • VIDA: Women in Literary Arts". VIDA: Women in Literary Arts . Retrieved 2023-02-27.Janine Läpple & Judith Möllers (Leibniz Institute of Agricultural Development in Transition Economies) Central themes in the novels include women's friendship and the shaping of women's lives by their social milieu, sexual and intellectual jealousy and competition within female friendships, and female ambivalence about filial and maternal roles and domestic violence. Isabelle Blank wrote about the complex, mirrored relation between the protagonists Lenu and Lila: "Lenù and Lila are foils for one another. Lenù is blonde, studious, eager to please, self-doubting and ambitious, whereas Lila is dark, naturally brilliant, mercurial, mean and irresistible to those around her. The story is told from Lenù’s point of view, but the two friends understand one another on such a deep and complex level that the reader is often privy to Lila's perceived inner thoughts." [6] Finally, I spoke of the necessity of recounting frankly every human experience, including, I said emphatically, what seems unsayable and what we do not speak of even to ourselves.” Rino Cerullo (Lila's older brother, five to seven years older than Lila, works at the family's shoe shop) Fischer, Molly (September 4, 2014). "Elena Ferrante and the Force of Female Friendships". The New Yorker.

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The Story of a New Name takes place immediately after Lila’s marriage to the neighborhood grocer, the young man in charge of one of only two of the neighborhood’s prosperous families. Getting bogged down in the details of the plot of each book is kind of missing the point, so I will try to avoid doing it, but I mention the marriage because this is the single moment that changes the two women’s lives. It is the first and most concrete piece of evidence that the lives they are “meant” to have, as women, are not for them. Lila begins chafing at her vows and new identity (her new name) before the ceremony is even over, and the rest of this installment is, for her, about how she struggles to carve out necessary freedoms for herself, both inside and outside of her marriage. Meanwhile, Elena has left the neighborhood to attend secondary school and university. Academically, there is no denying her talent, but she has what we would, now, instantly identify as impostor syndrome, in spades, and she is nearly undone on multiple occasions by a crippling sense of inauthenticity. When she speaks among her educated friends, she always feels like she is pretending at intelligence, only hiding her poor vulgarity; when she as at home in Naples she simultaneously desires to impress with her accomplishments and be accepted as one of them, unchanged. It’s the story of moving within of two communities, but not truly being a part of either. Our goal, we realize now, was to create in readers the irritation we were experiencing: the irritation of having an insight or objection that could not be spoken within criticism’s evaluative rules of play. We wanted to make polemic claims without making argumentative ones—that is, we wanted to make arguments while making it difficult or impossible for anyone to argue with or against us. We wanted to say something that asserted itself as the best without subjecting itself to the test of bestness. But maybe the book really just is that good. It contains the best description of terrible sex in probably all of literature, followed by… I will just direct you to the last sentence of Chapter 62. Elena and Lila have grown into womanhood. Lila, married at sixteen, now has a young son; she has left her husband and the comforts her marriage brought and now works in awful conditions in a factory in Naples. Elena has left the city, earned her college degree, and published a novel, but now finds herself also trapped in a stifling marriage. Both women are pushing against the walls, afloat on the great sea of opportunities that opened up for women during the 1970s. I feel like the knight in an ancient romance as, wrapped in his shining armor, after performing a thousand astonishing feats throughout the world, he meets a ragged, starving herdsman, who, never leaving his pasture, subdues and controls horrible beasts with his bare hands, and with prodigious courage.”

Research on the migration-social reproduction nexus has been gaining more and more prominence in recent years. While many accounts are focused on female migrants’ role in host societies’ infrastructures and structures of care, less attention has been paid to the effects these circuits of migration have on sending countries, regions, and communities. We are interested in deepening these conversations with regards to the gendered consequences of emigration for structures and infrastructures of social reproduction at home. How do educational mobility, seasonal work and long-term emigration affect economies of care? What are the individual and collective challenges that the gendered character of emigration poses? Olga Onuch (Senior Lecturer in Politics at the University of Manchester, Principle Investigator of the Mobilise Project) Franich, Darren (15 November 2019). "Elena Ferrante's Neapolitan Novels are the best book series of the decade". EW.com . Retrieved 2023-02-27. Maybe there’s something mistaken in this desire men have to instruct us; I was young at the time, and I didn’t realize that in his wish to transform me was the proof that he didn’t like me as I was, he wanted me to be different, or, rather, he didn’t want just a woman, he wanted the woman he imagined he himself would be if he were a woman. For Franco, I said, I was an opportunity for him to expand into the feminine, to take possession of it: I constituted the proof of his omnipotence, the demonstration that he knew how to be not only a man in the right way but also a woman. And today when he no longer senses me as part of himself, he feels betrayed. I” This interdisciplinary conference aims to bring together researchers from different fields – political science, education, anthropology, history, political economy, and sociology, among others – who explore the socio-political and economic consequences of emigration for sending countries, regions and communities.